A Study On The Visuality Construction Of Public Art Intervention In The Villages Of Shenzhen

In the face of the imbalance between urban and rural economic and cultural fields,the country has proposed the goal of "beautiful village".In recent years,art intervention in rural construction has blossomed at home and abroad,and it has been in full swing.Many discussions were launched.With the advent of the image era,scholars’ research in the field of visual culture has gradually emerged.However,at present,there is little research on the public art intervention in rural spaces from the visual culture field.For discussion of viewing or visual issues,related case studies are also concentrated in some rural areas in the interior,with less attention to rural areas in developed areas.Therefore,this article starts from the related research of visual culture and artistic intervention,focuses on the Shenzhen countryside,combines the visual producers and visual performance of artistic intervention,and analyzes the issues related to visual viewing and visual construction.The main constituents of the visual producers in the art and village practice in Shenzhen are government agencies,village committees,artists and villagers.Government agencies and village committees mainly provide loose policy support and financial support,more like supporters,supervisors and decision makers;Artists also play a variety of roles in art township construction,such as initiators,creators,and organizers;local community residents are more like government agencies and artists’ assistants.By paying attention to the producers of art practice,the phenomenon of continuous group migration of artists in Shenzhen has been found,and combined with the rural cases in Shenzhen,three different modes of top-down,bottom-up and multiple linkage modes of art intervention in the countryside have been summarized,and from this,we find the disputation of discourse rights of artistic production in different roles.Then the author discusses the visual expression of Shenzhen rural space art intervention from art exhibition hall,artist studio,public sculpture,wall art,public facilities and other directions.Finally,from the perspective of visual culture,based on W.J.T.Michelle’s "Image Theory" and Martin Jay’s "Visual System",the visuality of Shenzhen Art Village is discussed.First of all,in the visual construction led by the artist,through the use of the perspective system,the visual stimulation of the visual art is performed on the viewer to achieve the purpose of visual attraction.And through the application of the principles of cubism and optical illusion,it expresses its resistance to rationalism.Secondly,the government-led art exhibition hall presents the visual characteristics of "art first",and constructs a rational sense of order through the planning of buildings and landscapes.Through the accumulation and collage of "natural things",a "visual persuasion" to the viewer is achieved.Finally,in the era of imageization,video producers can complete the selective presentation of the rural landscape through the use of visual technology,and complete the construction of the local imagery of the artistic village for viewing.